PREMIUM LIVE ANALOG MIXERS
w/PERKINS EQ & ONYX MIC PREAMPS
O W N E R ’ S M A N U A L
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Table of Contents
Getting Started..........................................................................................................5
Zero the Controls.......................................................................................................................................5
Instant Mixing.............................................................................................................................................5
Matrix, Compressor, and Metering Section......................................................................................15
Phones/Monitor, Solo, Mono, and Talkback Section....................................................................17
Auxiliary Section......................................................................................................................................18
Rear Panel...................................................................................................................................................ꢀ1
Troubleshooting.......................................................................................................................................ꢀ5
Repair.........................................................................................................................................................ꢀ6
Onyx 4•Bus Specifications....................................................................................................................ꢁ0
Onyx 4•Bus Gain Structure Diagram................................................................................................. ꢁ4
information about this and other Mackie products.
Part No. SW0600 Rev. D 05/09
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
ꢁ
Owner’s Manual
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Introduction
HOW TO USE THIS MANUAL
We know that many of you can’t wait to get your new
mixing console hooked up, and you’re probably not going
to read the manual first (sigh!). So the next section is a
Quick-Start Guide to help you get the mixer set up fast
so you can start using it right away. Right after that are
the ever popular hook-up diagrams that show typical
mixer setups for live sound, recording and mixdown.
Thank you for choosing a Mackie Onyx 4•Bus profes-
sional live mixing console. The Onyx 4•Bus mixers fea-
ture all-new analog circuitry and the latest technologies
for live sound reinforcement in a durable, road-worthy
package.
The Onyx 4•Bus mixing consoles replace the legend-
ary SR24•4 and SR32•4 VLZ PRO mixers. The new Onyx
versions of these mixers maintain the same physical
size, channel count and features of the originals, while
adding a variety of new and improved features.
Then, when you have time, read the Features Descrip-
tion section. This describes every knob, button, and
connection point on the Onyx 4•Bus, roughly following
the signal flow through the mixer.
The Onyx 4•Bus consoles are equipped with our new
premium precision-engineered, studio-grade Onyx mic
preamps. Mackie is renowned for the high-quality mic
preamps used in our mixers, and the Onyx mic pre’s are
better than ever, with specifications rivaling expensive
stand-alone boutique mic preamplifiers.
Throughout this section you’ll find illustrations with
each feature numbered. If you want to know more about
a feature, simply locate it on the appropriate illustra-
tion, notice the number attached to it, and find that
number in the nearby paragraphs.
This icon marks information that is
critically important or unique to the
Onyx 4•Bus. For your own good, read
them and remember them. They will
be on the final test.
Each mono channel strip features an individual phan-
tom power switch, low-cut filter, mic input pad, pre-EQ
channel insert, and an all new four-band EQ design with
sweepable mids and EQ bypass switch.
All mono channels have six Aux sends, Pan, Mute, PFL
Solo, 100 mm Fader, Group and Main Mix assign, and
four signal-level indicators. In addition, balanced direct
outputs are provided on DB-25 connectors (eight chan-
nels per connector) for multitrack recording.
This icon leads you to in-depth
explanations of features and practi-
cal tips. While not mandatory, they
usually have some valuable nugget of
information.
The master section features two Stereo Returns, six
Master Aux sends, four Group Masters, a 6x2 Matrix, a
Phones/Monitor section, and a Talkback section with
routing switches that allow you to communicate through
the Aux Sends and the L/R mix.
A PLUG FOR THE CONNECTOR SECTION
Appendix B is a section on connectors: XLR connec-
tors, balanced connectors, unbalanced connectors, and
special hybrid connectors.
A new feature with the Onyx 4•Bus mixers is an analog
stereo compressor/limiter that can be inserted at the out-
put of the L/R main mix, or the Group 1/2 or 3/4 outputs.
More resources on our website at www.mackie.com.
Click on Support to find answers to many of your ques-
tions. The FAQ (Frequently Asked Questions) section is
filled with answers to many of the questions our Techni-
cal Support staff has fielded over the years.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
Check out the glossary for explanations of many of the
pro-audio terms used in our manuals.
Purchased at:
Date of purchase:
4
ONYX 4•Bus
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output. Be sure that the volume of the input source
is the same as it would be during normal use. If it
isn’t, you might have to readjust these levels during
the middle of the set.
Getting Started
READ THIS PAGE!!
3. Adjust the channel’s GAIN [4] control so that the
LEDs on the Left MAIN MIX meter stay around “0”
and never go higher than “+10.”
Even if you’re one of those people
who never read manuals, all we ask
is that you read this page now before
you begin using the Onyx 4•Bus.
You’ll be glad you did!
4. If you’d like to apply some EQ, do so now and return
to step 3. Remember to push in the EQ IN/OUT
[11] switch or the EQ controls won’t do anything.
5. Disengage that channel’s PFL solo switch.
6. Repeat for each channel.
Zero the Controls
1. Turn down the channel GAIN, AUX, and Fader con-
trols, and center the channel EQ and PAN controls.
Instant Mixing
2. Set all push button switches to their “out” positions.
1. Leave the microphone plugged into channel 1 and
connect a keyboard, guitar or other instrument to
channel 2. Be sure to “Set the Levels” for channel 2
as described above.
3. In the Master section, turn all the rotary knobs
“down,” the switches “out,” and the faders down.
4. Turn the POWER switch off.
2. To get sound out of the speakers, push in the MAIN
MIX assign switch [17] next to the faders on chan-
nels 1 and 2, turn up channel 1 and 2 faders [15] to
the “U” mark and slowly turn up the MAIN MIX [72]
fader to a comfortable listening level.
Connections
If you already know how you want to connect the Onyx
4•Bus mixing console, go ahead and connect the inputs
and outputs the way you want them. If you just want to
get sound through the mixer, follow these steps:
3. Sing and play. You’re a star! Adjust the faders for
channels 1 and 2 to bring your voice and your
instrument up and down to create your own mix.
1. Plug a microphone or other signal source into chan-
nel 1’s MIC or LINE input [73/74].
Other Nuggets of Wisdom
2. Plug in the detachable linecord, connect it to an AC
outlet, and turn on the Onyx 4•Bus’ POWER switch
[90].
•
•
•
•
•
For optimum sonic performance, the channel and
MAIN MIX faders should be set near the “U” (unity
gain) markings.
3. Connect cables from the Onyx 4•Bus’ MAIN OUTS
[82] (XLR connectors or 1/4" TRS connectors on
the rear panel) to your amplifier or active speakers.
Always turn the MAIN MIX faders, GROUP faders,
and MONITOR knob down before making connec-
tions to and from your Onyx 4•Bus.
4. Hook up speakers to the amp and turn it on. If the
amplifier has level controls, set them however the
manufacturer recommends (usually all the way up).
When you shut down your equipment, turn off the
amplifiers first. When powering up, turn on the
amplifiers last.
Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2 for
information on hearing protection.
Set the Levels
To set the channel GAIN controls, it’s not even neces-
sary to hear what you’re doing at the outputs of the
mixer. If you want to listen while you work, plug head-
phones into the PHONES jack [46] on the front panel,
then set the PHONES knob [47] about one-quarter of
the way up and the SOLO LEVEL [49] about halfway up.
Save the shipping box! You may need it someday,
and you don’t want to have to pay for another one.
That’s it for the “Getting Started” section. Next comes
the “Hookup” section that shows you some typical ways
that you might use the Onyx 4•Bus in real applications.
After that, take the grand tour of the mixer, with de-
scriptions of every knob, button, input, and output. We
encourage you to take the time to read all of the feature
descriptions, but at least you know it’s there if you have
any questions.
The following steps must be performed one channel at
a time.
1. Push in the channel’s PFL [18] solo switch.
2. Play something into the selected input. This could
be an instrument, a singing or speaking voice, or
a line input such as a CD player or tape recorder
5
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This hookup diagram demonstrates how you can
make a live multitrack recording using the DIRECT
OUTs. The DIRECT OUTs provide an analog balanced
direct output for each channel, pre-EQ. The Matrix
outputs are used to create a stereo recording for
backup.
Hookup Diagrams
Aux Send 4 is used for stage monitors, and a graphic
EQ is connected to the Aux 4 Insert jack, serving as
a dedicated in-line EQ for the monitors. Aux Sends
5 and 6 are used to drive a stereo IEM system. Aux
Send 3 drives a stereo effects processor, whose stereo
signal is returned via the Stereo Returns jacks.
Bass Guitar
Mono Compressor
In
Out
1
1
2
3
4
11
12
13
14
2
3
4
Electric Guitar
In
Out
In
5
5
6
15
16
Stereo Compressor
6
7
8
Out
7
8
9
17
18
19
Electric Guitar
Line Out
Line Out
DI Box
DI Box
9
9
10
11
12
Bass Amp
10
10 20
Stage Monitors
14
Mono Power
Amplifier
Mono EQ
In
1
2
4
5
Out
13
Vocal Mics
Guitar Amp
14
15
16
DI Box
3
1
2
3
6
4
5
6
Keyboard or Synth
Stereo Guitar Effects
15
16
17
18
DI Box
17
Stereo In-Ear Monitor
System (IEM)
Multi Effect
Processor
18
19
20
2
3
4
19
20
1
2
3
4
21 22
23 24
In
Stereo EQ
L
Out
In
R
Out
L
1
R
L
2
R
L
R
L
L
R
R
MP3 Player
Stereo Crossover
L
R
Stereo Power
Amplifier
Stereo Power
Amplifier
Headphones
Stereo Recorder
A
B
In (record)
PA Speaker
Subwoofers
SELECT
SELECT
SELECT
SELECT
Digital Multitrack
Hard Disk Recorder
Onyx 24•4 Live Club Mix and Multitrack Recording
6
ONYX 4•Bus
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Bass Guitar
Mono Compressor
In
Out
1
1
2
3
4
11
12
13
14
2
3
4
Electric Guitar
In
Out
In
5
5
6
15
16
Stereo Compressor
6
7
8
Out
7
8
9
17
18
19
Electric Guitar
Line Out
Line Out
DI Box
DI Box
Mono Power
Amplifier
Stage Monitor
Stage Monitor
9
9
10
11
12
Bass Amp
10
10 20
Mono Power
Amplifier
1
Mono EQ
In
Out
1
2
4
5
13
Vocal Mics
Guitar Amp
DI Box
14
15
16
DI Box
3
1
2
3
6
4
5
6
Keyboard or Synth
Stereo Guitar Effects
15
16
17
18
17
Stereo In-Ear Monitor
System (IEM)
18
19
20
1
2
3
4
19
Mono Power
Stage Monitor
Amplifier
1
2
3
4
21 22
23 24
Mono Power
Amplifier
Stage Monitor
L
R
L
1
R
L
2
R
L
R
L
L
R
R
Talkback Mic
Listen Wedge
Mono Power
Amplifier
L
R
A
B
This drawing shows the flexibility of the Onyx 4•Bus for creating different monitor
mixes. Auxes 1-4 provide separate monitor mixes for four floor wedges. Auxes 5-6
provide a stereo monitor mix for an in-ear monitor (IEM). The Aux Inserts can be
used for in-line graphic EQ for each monitor send. A listen wedge is connected to
the Monitor Out, allowing you to solo and listen to each monitor mix. The Talkback
Mic lets you talk to the talent through the monitors (Aux Sends).
Onyx 24•4 Stage Monitor Mix
7
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Bass Guitar
Mono Compressor
In
Out
1
1
2
3
4
11
12
13
14
2
3
4
Electric Guitar
In
Out
In
5
5
6
15
16
Stereo Compressor
6
7
8
Out
7
8
7
8
9
17
18
19
Electric Guitar
Line Out
Line Out
DI Box
DI Box
9
10
11
12
10 20
Bass Amp
Headphones
for Studio
1
2
4
5
13
In
Stereo EQ
Vocal Mics
Out
In
Guitar Amp
DI Box
14
15
16
DI Box
3
1
2
3
6
4
5
6
Keyboard or Synth
Out
Stereo Guitar Effects
15
16
17
18
Headphone Distribution
Amp
17
18
19
20
2
3
4
19
1
2
3
4
21 22
23 24
L
R
L
1
R
L
2
R
L
Powered
R
Studio Monitors
for Studio
L
L
R
R
L
R
A
B
In this hookup diagram, the Direct Outs for channels 9-24
are connected to the analog audio interface for your DAW or
laptop for tracking. The drum microphones are subgrouped
to Groups 1-4 and routed to the analog audio interface for
recording.
Audio I/O for Workstation
To Desktop
or
A 2-track return is provided by the DAW (or laptop) to the
Stereo Returns on the Onyx 24•4 for playback of the master
mix.
Laptop Computer
Auxes 5-6 provide a stereo monitor mix for a headphone
distribution amplifier (Aux 5-6 Inserts are connected
to a stereo graphic EQ to provide equalization for the
headphone mixes).
Onyx 24•4 Computer Recording
8
ONYX 4•Bus
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Bass Guitar
Mono Compressor
In
Out
1
1
2
3
4
11
12
13
14
2
3
4
Electric Guitar
In
Out
In
5
5
6
15
16
Stereo Compressor
6
7
8
Out
7
8
9
17
18
19
Electric Guitar
Line Out
Line Out
DI Box
DI Box
9
9
10
11
12
Bass Amp
10
10 20
Stage Monitors
Mono Power
Amplifier
Mono EQ
In
1
2
4
5
Out
13
Vocal Mics
Guitar Amp
DI Box
14
15
16
DI Box
3
1
2
3
6
4
5
6
Keyboard or Synth
Stereo Guitar Effects
15
16
17
18
Stereo In-Ear Monitor
System (IEM)
17
18
19
20
2
3
4
19
1
2
3
4
21 22
23 24
In
Assistive Listening
System
Stereo EQ
L
Out
In
R
Out
L
1
R
L
2
R
L
R
L
L
R
Stereo Recorder
R
Mono EQ
L
R
Headphones
A
B
Power Amp
Mono Mode
Power Amp
Mono Mode
Power Amp
Mono Mode
Power Amp
Mono Mode
Mono EQ
Mono EQ
Power Amp
Mono Mode
Power Amp
Mono Mode
Right PA Speaker
Front Fill PA Speaker
Left PA Speaker
Subwoofer
SELECT
SELECT
SELECT
SELECT
Balcony Seating Speaker
Nursery Zone Speaker
Digital Multitrack
Hard Disk Recorder
In a House of Worship application, the Onyx 4•Bus provides plenty of Aux Sends
for stage monitors, stereo in-ear monitoring, and assistive listening systems. The
MONO output is used to provide front-fill for the first few rows not covered by the
main PA speakers. A stereo graphic EQ is connected to the Main Inserts (the built-
in compressor/limiter provides system limiting for the Main Mix). Aux 6 is used
as a subwoofer feed (a low-pass filter is built in to either the power amplifier or
subwoofer). The Matrix A and B outputs provide additional custom mixes for the
balcony and the nursery.
Onyx 24•4 House of Worship
ꢂ
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Onyx 4•Bus Features
Mono Channel Strips
ꢁ. 48V Phantom Power Switch
The Onyx 24•4 has 20 mono channel strips and two
stereo channels, and the Onyx 32•4 has 28 mono channel
strips and two stereo channels. Each mono channel has a
mic and line input connector and an insert jack for con-
necting an external signal processor.
Most professional condenser mi-
crophones require phantom power,
which is a low-current DC voltage
delivered to the microphone on
pins 2 and 3 of the XLR microphone
connector. Push in the 48V switch
if your microphone needs phantom
power. An LED lights just above the
switch to indicate that phantom
power is active on that channel.
1
PAD
48V
30
U
20
U
40
60
1. PAD Switch
-20dB +40dB
GAIN
In most cases, you will leave the PAD switch out. How-
ever, you may have a microphone that produces a higher
output signal than usual, which may require you to turn
the GAIN control way down. If that is the case, push in
the PAD switch to insert a 20 dB pad at the input to the
mic preamp, to prevent overloading the microphone pre-
amp and provide better gain control.
U
EQ
Dynamic microphones, like
Shure’s SM57 and SM58, do not
require phantom power. However,
phantom power will not harm most
dynamic microphones should you
accidentally plug one in while the
phantom power is turned on. Be
careful with older ribbon micro-
phones. Check the manual for your
microphone to find out for sure
whether or not phantom power can
damage it.
HIGH
12kHz
-
15 +15
2k
FREQ
400
8k
U
HIGH
MID
ꢀ. Low-Cut Switch
-
15 +15
400
The Low-Cut switch, often referred to as a high-pass
filter, cuts bass frequencies below 100 Hz at a rate of 18 dB
per octave.
FREQ
100
2k
U
LOW
MID
We recommend that you use the Low-Cut switch on
every microphone application except kick drum, bass
guitar, bassy synth patches, or recordings of earth-
quakes. These aside, there isn’t much down there that
you want to hear, and filtering it out makes the low stuff
you do want much more crisp and tasty. Not only that,
but the Low-Cut switch can help reduce the possibility
of feedback in live situations and it helps to conserve
amplifier power.
-
15 +15
Note: Be sure the MAIN MIX fader
[72] is turned down when connect-
ing microphones to the MIC Inputs,
especially when phantom power is
turned on, to prevent pops from get-
ting through to the speakers.
U
LOW
80Hz
-
15 +15
OUT
IN
EQ
AUX
1
2
3
4
5
6
4. GAIN Control
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
Another way to use the Low-Cut switch
is in combination with the LOW EQ on
vocals during live performances. Many
If you haven’t already, please read
“Set the Levels” on page 5.
times, bass shelving EQ can really ben-
efit voices. Trouble is, adding LOW EQ
also boosts stage rumble, mic handling
The GAIN control adjusts the input
sensitivity of the mic and line inputs.
This allows the signal from the out-
side world to be adjusted to optimal
internal operating levels.
clunks, and breath pops. Low Cut removes all those prob-
lems so you can add LOW EQ without losing a woofer.
Here’s what the combination of LOW EQ and Low Cut
looks like in terms of frequency curves.
If the signal is plugged into the
XLR jack, there is 0 dB of gain
(unity gain) with the knob turned
all the way down, ramping up to 60
dB of gain fully up (–20 dB to +40
dB with the PAD switch pushed in).
+15
+10
+5
0
–5
When connected to the 1/4" jack, there is 20 dB of
attenuation all the way down, and 40 dB of gain fully up,
with a “U” (unity gain) mark at about 10:00.
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut with Low EQ Boosted
10
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5. HIGH EQ
ꢂ. LOW MID FREQ
+15
ꢄꢂꢃ
This control gives you
up to 15 dB boost or cut at
12 kHz, and is flat at the
center detent. Use it to
add sizzle to cymbals, and
an overall sense of trans-
parency or edge to the
keyboards, vocals, guitar,
and bacon frying. Turn it
This knob ranges from
100 Hz to 2 kHz and
determines the center
frequency for the LOW
MID EQ filter. This allows
you to zero in on the
precise narrow band of
frequencies you want to
have affected by the LOW
MID EQ.
ꢄꢂꢁ
+10
ꢄꢃ
ꢁ
+5
0
nꢃ
–5
nꢂꢁ
nꢂꢃ
–10
–15
ꢀꢁ(Z
ꢂꢁꢁ(Z
ꢂK(Z
ꢂꢁK(Z ꢀꢁK(Z
20Hz
100Hz
1kHz
10kHz 20kHz
Low Mid EQ Freq Sweep
High EQ
down a little to reduce sibilance, or to hide tape hiss.
6. HIGH MID EQ
10. LOW EQ
+15
+15
Short for “midrange,”
this knob provides 15 dB
of boost or cut centered
at the frequency deter-
mined by its FREQ knob
(see HIGH MID FREQ
next). Midrange EQ is
often thought of as the
most dynamic because
This control gives you
up to 15 dB of boost or cut
at 80 Hz. The circuit is flat
(no boost or cut) at the
center detent position.
This frequency represents
the punch in bass drums,
bass guitar, fat synth
+10
+10
+5
+5
0
0
–5
–5
–10
–10
–15
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
100Hz
1kHz
10kHz 20kHz
High Mid EQ
Low EQ
patches, and some really
serious male singers.
the frequencies that define any particular sound are
almost always found in this range. The HIGH MID EQ
range (400 Hz to 8 kHz) includes the female vocal range
as well as the fundamentals and harmonics for many
instruments.
Note: Used in conjunction with the Low Cut switch,
you can boost the LOW EQ without injecting tons of
infrasonic debris into the mix.
11. EQ IN/OUT Switch
7. HIGH MID FREQ
This is a true hardware bypass of the Perkins EQ cir-
cuitry to insure that there is no coloration of the signal
if the EQ is not needed. When this button is out, the EQ
controls have no effect on the signal. You can use this
switch to make an A/B comparison between the EQ’d
signal and the signal without EQ.
ꢄꢂꢃ
This knob ranges from
400 Hz to 8 kHz and
determines the center
frequency for the HIGH
MID EQ filter. This allows
you to zero in on the
precise narrow band of
frequencies you want
to have affected by the
HIGH MID EQ.
ꢄꢂꢁ
ꢄꢃ
ꢁ
nꢃ
nꢂꢁ
nꢂꢃ
We have completely redesigned the
EQ circuits in the Onyx Series of
mixers, based on the designs of Cal
ꢀꢁ(Z
ꢂꢁꢁ(Z
ꢂK(Z
ꢂꢁK(Z ꢀꢁK(Z
High Mid EQ Freq Sweep
Perkins, an industry-leader in audio
engineering for over three decades
and long-time Mackie collaborator.
8. LOW MID EQ
This “neo-classic” design provides the sweet musicality
of the British EQ sound, while still maintaining 15 dB of
boost and cut with optimum Q and minimum phase shift
(in other words, it gives you plenty of control and is
pleasing to the ear!).
+15
This is a second mid-
range EQ control that
provides 15 dB of boost
or cut centered at the
frequency determined by
its FREQ knob. It extends
down to 100 Hz, which
includes the male vocal
range and the fundamen-
+10
+5
0
–5
The 4-band equalization has LOW shelving at 80 Hz,
LOW MID peaking, sweepable from 100 Hz to 2 kHz on
the mono channels, HIGH MID peaking, sweepable from
400 Hz to 8 kHz on the mono channels, and HIGH shelv-
ing at 12 kHz. “Shelving” means that the circuitry boosts
or cuts all frequencies past the specified frequency. For
example, rotating the LOW EQ knob 15 dB to the right
boosts bass frequencies below 80 Hz and continuing on
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Low Mid EQ
tals of some lower instruments (guitar, lower brass).
11
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down to the lowest note you ever heard. “Peaking” means
that the frequencies around the center frequency are
less affected by the EQ the further away they are.
AUX
15. Channel Fader
The fader controls the channel’s
level…from off to unity gain at the
“U” marking, on up to 10 dB of ad-
ditional gain.
1
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
1ꢀ. AUX Sends
2
3
4
5
These tap a portion of each channel’s signal (pre or
post-fader) out to either an effects processor (post-fader)
or for stage monitoring (pre-fader). The AUX Send lev-
els are controlled by the channel’s AUX 1-6 knobs, and
by the AUX SEND MASTERS knobs [55].
“U” Like Unity Gain
Mackie mixers
have a “U” symbol
on many of the
level controls.
This “U” stands
These are more than just effects and monitor sends.
They can be used to create stereo in-ear monitor mixes,
generate separate mixes for recording, for another zone,
or “mix-minuses” for broadcast.
for “unity gain,”
meaning no change in signal level.
Once you have adjusted the input
signal to line-level, you can set the
controls at “U” and your signals will
travel through the mixer at opti-
mal levels. What’s more, many of
the labels on our level controls are
measured in decibels (dB), so you’ll
know what you’re doing level-wise
if you choose to change a control’s
settings.
6
1ꢁ. PAN
PAN
PAN adjusts the amount of channel signal sent to the left
versus the right outputs
.
L
R
With the PAN knob hard left, the signal feeds the
MAIN LEFT (and GROUP 1 and 3, depending on the
setting of the GROUP ASSIGN switches). With the knob
hard right, the signal feeds the MAIN RIGHT (and
GROUP 2 and 4).
MUTE
1
dB
10
16. Signal Level LEDs
Constant Loudness
5
These LEDs indicate the channel’s
signal level after the GAIN and
EQ controls, but just prior to the
channel’s fader. So even if the fader
is turned down, you can see if a
signal is present.
The Onyx 4•Bus PAN control em-
ploys a design called “Constant Loud-
ness.” If you have a channel panned
hard left (or right) and then pan to
the center, the signal is attenuated
OL
+
10
U
0
-
20
5
3 dB to maintain the same apparent
10
ASSIGN
loudness. Otherwise, it would make the sound appear
much louder when panned center.
If you’ve followed the “Set the Lev-
els” procedure, the –20 and 0 LEDs
should light frequently, the +10
LED should light occasionally, and
the OL (Overload) LED should not
light at all. If the OL LED is blink-
ing frequently, the signal is probably
distorted from overdriving the input.
Either turn down the GAIN control
or turn down the signal at its source.
-
1 2
20
30
14. MUTE
-
3 4
40
50
60
Press this switch to mute the individual channel. This
disconnects the channel’s signal from all the Groups,
the Main Mix, and Aux Send buses (pre* and post-
fader). You can still solo the channel (PFL) when the
MUTE switch is pushed in.
MAIN
MIX
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* If the pre-fader Aux Send’s internal jumper is wired for pre-Mute
[56], the MUTE switch will not affect the PRE Aux Send.
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VERY IMPORTANT: Remember, PFL
mode taps the channel signal before
17. GROUP and MAIN MIX ASSIGN Switches
the fader. If you have a channel’s fad-
er set way below “U” (unity gain), PFL
solo won’t know that and will send a
Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel’s PAN knob, they are used
to determine the destination of the channel’s signal.
unity gain signal to the MONITOR OUT and PHONES
output. That may result in a startling level boost at
these outputs when switching to PFL solo mode.
With the PAN knob [13] at the center detent, the left
and right sides receive equal signal levels (GROUPS 1-2,
3-4, and MAIN MIX L-R). To feed only one side or the
other, turn the PAN knob accordingly.
Stereo Channel Strips
If you’re doing a mixdown to a 2-track, for example,
simply engage the MAIN MIX switch on each channel
that you want to hear, and they’ll be sent to the MAIN
MIX bus. If you want to create a subgroup of certain
channels, engage either the 1-2 or 3-4 switches instead
of the MAIN MIX, and they’ll be sent to the appropriate
Group faders. From there, the groups can be sent back
to the MAIN MIX (using the MAIN MIX assign switches
[70] next to the Group faders), allowing you to use the
Group faders as a master control for those channels.
The Onyx 4•Bus mixers each have
two stereo channels. The stereo
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channels have a pair of 1/4
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line input connectors.
The stereo channels can be used
as mono or stereo line-input chan-
nel strips, or to return the signal
from an external effects processor
connected to an Aux Send (if you
want to apply EQ or more flex-
ible auxiliary routing to the signal
than is available with the Stereo
Returns). These versatile channel
strips are nearly as full-featured as
the mono channel strips.
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If you’re creating new tracks or bouncing existing ones,
you’ll also use the GROUP ASSIGN switches, but not the
MAIN MIX switch. Here, you don’t want the subgroups
sent back into the MAIN MIX bus, but sent out, via the
GROUP OUTS jacks [85], to your multitrack inputs. How-
ever, if you’re printing tracks via the DIRECT OUTS [76],
the channel assignment switches don’t matter because
the DIRECT OUTS come before the ASSIGN switches.
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1ꢂ. GAIN Control
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The GAIN control adjusts the
input sensitivity of the stereo line
inputs. This allows the signal from
the outside world to be adjusted to
optimal internal operating levels.
This handy switch allows you to hear signals through
your headphones or monitor outputs without having to
route them to the MAIN or GROUP mixes. Folks use solo
in live work to preview channels before they are let into
the mix, or just to check out what a particular channel
is up to anytime during a session. You can solo as many
channels at a time as you like. It won’t affect what is
coming out the MAIN OUT or GROUP OUT jacks.
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There is 20 dB of attenuation with
the knob turned all the way down,
ramping up to 20 dB of gain fully up, with a “U” (unity
gain) mark at 12:00.
ꢂ18
The Onyx 4•Bus has two solo modes. PFL (Pre-Fader
Listen) is the default solo mode, and the mode used for
inputs, including soloing individual channels and the
Stereo Returns. AFL (After-Fader Listen) is activated
whenever an AFL switch is pressed on an output, includ-
ing an Aux Send, Matrix, or Group.
ꢀ0. HIGH EQ
This control gives you up to 15 dB boost or cut above
12 kHz, and it is also flat at the center detent. Use it to
add sizzle to cymbals, and an overall sense of transpar-
ency or edge to the keyboards, vocals, guitar, and bacon
frying. Turn it down a little to reduce sibilance, or to
hide tape hiss.
PFL solo mode always overrides any AFL solo mode.
The Rude Solo LEDS [43] below the SOLO meters indi-
cate which solo mode is active.
Soloed channels are sent to the PHONES output and
MONITOR outputs, and also to the MAIN MIX meters.
PFL mode (Pre-Fader Listen) sends the channel’s signal
after the GAIN and EQ controls, but before the channel
fader, to the PFL solo bus (and appears on the LEFT
meter). AFL mode (After-Fader Listen), sends the
signal post-fader (and appears on the LEFT and RIGHT
meters), making it ideal for mixdown soloing.
ꢀ1. HIGH MID EQ
Short for “midrange,” this knob provides 15 dB of
boost or cut at 2.5 kHz. Midrange EQ is often thought of
as the most dynamic because the frequencies that de-
fine any particular sound are almost always found in this
Owner’s Manual
1ꢁ
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range. The HIGH MID EQ frequen-
cies include the female vocal range
as well as the fundamentals and
harmonics for many instruments.
1
ꢀ7. MUTE
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Press this switch to mute the channel. This discon-
nects the channel’s signal from all the Groups, the Main
Mix, and Aux Send buses (pre* and post-fader). You
can still solo the channel in PFL mode when the MUTE
switch is pushed in.
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ꢀꢀ. LOW MID EQ
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This is a second midrange EQ
control that provides 15 dB of boost
or cut centered at 400 Hz. This
includes the male vocal range and
the fundamentals of some lower
instruments (guitar, lower brass).
ꢀ+
* If the pre-fader Aux Send’s internal jumper is wired for pre-Mute
[56], the MUTE switch will not affect the PRE Aux Send.
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ꢀ8. Stereo Fader
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The fader controls the stereo channel’s level, from
off to unity gain at the “U” marking, on up to 10 dB of
additional gain.
ꢀꢁ. LOW EQ
This control gives you up to 15
dB of boost or cut below 80 Hz. The
circuit is flat (no boost or cut) at
the center detent position. This
frequency represents the punch in
bass drums, bass guitar, fat synth
patches, and some really serious
male singers.
ꢀꢂ. Signal Level LEDs
These LEDs indicate the sum of the channel’s left and
right signal levels after the GAIN and EQ controls, but
just prior to the channel’s fader. So even if the fader is
turned down, you can see if a signal is present.
If you’ve followed the “Set the Levels” procedure, the
–20 and 0 LEDs should light frequently, the +10 LED
should light occasionally, and the OL (Overload) LED
should not light at all. If the OL LED is blinking fre-
quently, the signal is probably distorted from overdriving
the input. Either turn down the GAIN control or turn
down the signal at its source.
,
ꢀ4. EQ IN/OUT Switch
*ꢂ
This is a true hardware bypass of
the Perkins EQ circuitry to insure
that there is no coloration of the
signal if the EQ is not needed.
When this button is out, the EQ
controls have no effect on the
signal. You can use this switch to
make an A/B comparison between
the EQ’d signal and the signal
without EQ.
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ꢁ0. GROUP and MAIN MIX ASSIGN Switches
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Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel’s PAN knob, they are used
to determine the destination of the channel’s signal.
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The stereo channels are assignable to GROUPS 1-2,
3-4, and the MAIN MIX. With the PAN knob [26] at the
center detent, the left and right stereo signal is equally
balanced. To feed only one side or the other, turn the
PAN knob accordingly.
ꢀ5. AUX Sends
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These tap a portion of each
channel’s signal out to an effects
processor or for stage monitoring.
The AUX Send levels are controlled
by the channel’s AUX 1-6 knobs,
and by the AUX SEND MASTERS
knobs [55].
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ꢁ1. PFL Solo Switch
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Like the PFL switch on the mono channels, this switch
allows you to hear signals through your headphones or
monitor outputs without having to route them to the
MAIN or GROUP mixes. Since this is Pre-Fader Listen,
you can listen to the stereo signal even when the chan-
nel fader is turned down. Unlike the mono channel PFL,
the stereo channel PFL is a stereo signal (post-pan
control), and therefore retains its left and right stereo
image in the headphones and monitors, and appears on
both LEFT and RIGHT meters.
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ꢀ6. PAN
PAN adjusts the amount of chan-
nel signal sent to the left versus
the right outputs. On the stereo
channels, the PAN knob works like
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the balance control on your home stereo (panning left
turns down the right channel, and panning right turns
down the left channel).
The Rude Solo LEDS [43] below the meters indicate
which solo mode is active.
14
ONYX 4•Bus
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Matrix, Compressor, and Metering Section
tantly, auto-gain compensation that provides the ap-
propriate amount of makeup gain based on the amount
of compression taking place.
ꢁꢀ. MATRIX A and B Input Controls
The Matrix A and B controls allow you to create sepa-
rate mixes, or a stereo mix, from Groups 1 through 4 and
the Left and Right Mix outputs. Simply adjust the six
matrix input controls to create the mix you want at the
MATRIX A or B outputs.
The following knobs and switches are used to control
the compressor.
ꢁ6. THRESHOLD
ꢁꢁ. MATRIX A and B MASTER Controls
Determines the level at which the compressor begins
to act on the incoming signal. It is calibrated in deci-
bels, ranging from –30 to +10 dB.
Use these controls to adjust the overall signal level at
the MATRIX A and B outputs.
ꢁ7. RATIO
ꢁ4. AFL Solo Switch
Determines the change in output level as a function of
the change in input level, once the threshold has been
exceeded. The Ratio control ranges from OFF (1:1) to
LIMIT (∞:1). Thus, if the ratio is 2:1, an increase in
input level of 10 dB (assuming the input is above the
threshold level) results in a 5 dB increase in output level.
The AFL switch allows you to hear the Matrix signal
through your headphones or monitor outputs. This
comes after the MATRIX MASTER, so you can hear the
relative signal level of each Matrix output.
When you engage the AFL switch on both MATRIX A
and B, the soloed signal appears in stereo in the head-
phones and monitor outputs. This is useful when you
want to use both Matrix outputs to create a stereo mix.
When set to LIMIT, the compressor acts as a peak
limiter. After the initial attack time, the output changes
very little once the input crosses the threshold.
Remember, PFL solo mode always overrides AFL solo
mode. If you engage a PFL solo switch on a mono or
stereo channel, the AFL solo is disconnected from the
headphones and monitor outputs and replaced with the
PFL signal. The Rude Solo LEDS below the SOLO meters
indicate which solo mode is active.
PREMIUM ANALOG MIXER w / P E R K I N S E Q
MATRIX
COMPRESSOR
A
B
-10
INPUT
G.R.
0dB=0dBu
GRP
-20
0
ꢁ5. COMPRESSOR/LIMITER
CLIP
20
15
10
6
1
2
1
-30
+10
O O MAX
O O MAX
THRESHOLD
3
A compressor is used to reduce or limit transient
peaks in a signal. As the input level to the compressor
increases, the output level from the compressor increas-
es linearly until the threshold point is reached. After
that point, the output level no longer increases linearly.
Instead, it increases at a reduced rate determined by
the ratio setting. In other words, the greater the ratio
setting, the less the output level changes as a function
of the input level.
GRP
4
2:1
2
5:1
3
5
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
O O +15
0
6
GRP
OFF
LIMIT
2
7
RATIO
3
4
8
O O MAX
MAIN GRP
MIX
1-2
7
9
GRP
3-4
GRP
10
20
30
10
12
15
4
O O MAX
COMP
ASSIGN
A compressor is often used on an individual signal
(voice) or group of signals (drums) to smooth out tran-
sients and allow signals to sit in the mix without harshly
cutting through. A limiter, on the other hand, is often
used between the mixer and the amplifier(s) to avoid
power amplifier clipping or overdriving the speakers,
known as system limiting.
O O MAX
LEFT
FAST
ATTACK
BYPASS
COMP
O O MAX
RIGHT
A
O O +15
E
MASTER
STEREO
The Onyx 4•Bus design team decided the compres-
sor/limiter functions could be carried out onboard using
a new integrated analog stereo compressor/limiter chip
designed by THAT Corporation. It provides threshold,
ratio, fast/slow attack control and, perhaps most impor-
AFL
AFL
15
Owner’s Manual
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ꢁ8. COMP ASSIGN
41. COMPRESSOR Meters
Use this switch to assign the compressor to either the
MAIN MIX, GROUP 1-2, GROUP 3-4, or OFF (not assigned).
The INPUT meter indicates the signal level at the
input of the compressor. Use this to help determine the
setting of the THRESHOLD control. Once the input level
crosses the threshold setting, the G.R. (Gain Reduction)
meters begin to light (top to bottom), as they indicate
how much gain reduction is being applied to the signal.
When the compressor is assigned to the MAIN MIX, it
is inserted in the signal flow after the MAIN MIX fader,
so it works as an external dynamics processor. Once the
signal crosses the THRESHOLD, boosting the MAIN MIX
fader results in little change in the output level (de-
pending on the RATIO setting).
Note: If the COMP ASSIGN switch [38] is OFF, the
COMPRESSOR meters will not indicate any signal.
When the compressor is assigned to one of the GROUP
pairs, it is inserted in the signal flow before the GROUP
faders. In this way, the compressor can act on a group of
channels assigned to the subgroup (for example, drum
microphones), and the overall level of the compressed
group can be mixed into the main mix.
4ꢀ. LEFT/RIGHT Level Meters
The Onyx 4•Bus Left and Right Level meters are
made up of two columns of twelve LEDs, with three
colors to indicate different ranges of signal level, traffic
light style. They range from –30 at the bottom, to 0 in
the middle, to +20 (CLIP) at the top.
ꢁꢂ. FAST ATTACK
The 0 LED in the middle is labeled 0 dB = 0 dBu.
The ATTACK setting determines how fast the com-
pressor reacts once the threshold has been exceeded. It
also affects the release time, which determines how fast
the compressor turns off once the signal falls below the
threshold.
You may already be an expert at the
world of “+4” (+4 dBu=1.23 V) and
“–10” (–10 dBV=0.32 V) operating
levels. What makes a mixer one or
the other is the relative 0 dB VU (or
With the switch up, the attack and release times are
calibrated to respond to the overall signal level without
the audible “pumping” and “breathing” artifacts that are
sometimes associated with compressors. In
0 VU) chosen for the meters. A “+4”
mixer, with +4 dBu pouring out the back will actually
read 0 VU on its meters. A “–10” mixer, with a –10 dBV
most cases, this is the setting you would use
for live sound and recording applications.
There may be some situtations that
require a faster acting attack and release.
POWER
LAMP
PREMIUM ANALOG MIXER w / P E R K I N S E Q
12V, 0.5A
PHONES
For example, mic’ing a snare drum produces
some fast transient peaks that may get
through the compressor before it can act
on the signal. Pushing in the FAST ATTACK
switch allows the compressor to react much
faster on quick transient peaks and release
the compression quickly between the peaks.
You can experiment with both settings to
determine which one works best in your
application.
MATRIX
COMPRESSOR
MAIN MIX
A
B
-10
LEFT
RIGHT
INPUT
G.R.
0dB=0dBu
GRP
0dB=0dBu
-20
0
CLIP
20
15
10
6
20
15
10
6
1
2
CLIP
1
-30
+10
O O MAX
O O MAX
THRESHOLD
3
GRP
4
2:1
2
5:1
3
3
5
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
O O MAX
O O +15
LEVEL
SET
0
6
GRP
OFF
LIMIT
2
2
7
RATIO
3
4
4
8
O O MAX
MAIN GRP
MIX
1-2
7
7
9
GRP
3-4
GRP
10
20
30
10
20
30
10
12
15
4
O O MAX
40. BYPASS COMP Switch
COMP
ASSIGN
When the BYPASS COMP switch is pushed
in, the signal bypasses the compressor, but
still allows you to see the input signal level
to the compressor and the amount of gain
reduction applied to the signal on the me-
ters. This is useful when setting up the com-
pressor settings prior to actually engaging
the compressor in a live sound application,
and for making A/B comparisons between
the compressed and uncompressed sound.
PFL
AFL
O O MAX
LEFT
RUDE
SOLO
FAST
ATTACK
BYPASS
COMP
O O MAX
RIGHT
O O +15
MASTER
STEREO
AFL
AFL
16
ONYX 4•Bus
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signal trickling out will read, you guessed it, 0 VU on its
meters. So when is 0 VU actually 0 dBu? Right now!
PHONES level turned all the way down before connect-
ing headphones to the PHONES jack. Keep it down until
you’ve put on the headphones. Then turn it up slowly.
Why? Always remember: “Engineers who fry their
ears, find themselves with short careers.”
Mackie mixers show things as they really are. When 0
dBu (0.775 V) is at the outputs, it shows as 0 dB VU on
the meters. What could be easier? By the way, the most
wonderful thing about standards is that there are so
many to choose from.
Phones/Monitor, Solo, Mono,
and Talkback Section
Thanks to the Onyx 4•Bus’ wide dynamic range,
you can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers
clip at about +10 dBu, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+10.”
47. PHONES Level Control
This controls the signal level at the stereo headphone
output [46].
Remember, audio meters are just tools to help assure
you that your levels are “in the ballpark.” You don’t have
to stare at them (unless you want to).
48. MONITOR Level Control
Note: The L/R meters indicate solo levels whenever
an AFL or PFL solo switch is pushed in.
This controls the signal level at the MONITOR output
[78].
4ꢁ. RUDE SOLO Lights
4ꢂ. SOLO LEVEL Control
These LEDs flash on and off when a channel’s solo is
active, as an additional reminder beyond the indicating
LEDs next to each PFL or AFL button. The green LED
indicates PFL solo mode, and the amber LED indicates
AFL solo mode. If you work on a mixer that has a solo
function with no indicator lights and you happen to
forget you’re in solo mode, you can easily be tricked
into thinking that something is wrong with your mixer.
Hence, the RUDE SOLO lights. It’s especially handy at
about 3 am when no sound is coming out of your moni-
tors but your multitrack is playing back like mad.
The SOLO LEVEL control is used to adjust the volume of
the solo’ed signal as it is routed to the MONITOR [78] and
PHONES [46] outputs. This control is independent of, and
prior to, the MONITOR and PHONES level controls.
This controls the solo signal level for both PFL and
AFL solo modes. You can use the SOLO LEVEL control
to balance the solo levels with the main or tape levels at
the MONITOR or PHONES out.
50. MONO Level Control
In addition to the Left and Right Main Mix outputs,
the Onyx 4•Bus provides an independent monophonic
output. The Left and Right Main Mix signals are
summed and sent to the MONO OUT [84]. This controls
the signal level at the MONO output.
44. POWER Indicator
This LED indicates when power is applied to the Onyx
mixer and the POWER switch is on.
45. LAMP Connector
51. MAIN TO MON Switch
This female BNC connector provides +12 volts DC for
gooseneck lamps. See your Mackie dealer for gooseneck
lamp recommendations (12 V lamp with BNC connector).
This switch routes the stereo L/R Main Mix signal
(post-fader) to both the Monitor and Phones outputs
when there are no solo switches engaged. The L/R Main
Mix signal is overridden in the Monitor and Phones
outputs by any PFL or AFL solo.
46. PHONES Jack
Note: If a PFL solo switch is engaged, it overrides the
AFL solo mode, including MAIN TO MON/PHONES.
This is where you plug in your stereo headphones. It is
1/4" TRS stereo jack and provides the same signal that
is routed to the MONITOR outputs [78]. The volume is
controlled with the PHONES knob [47].
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WARNING: The headphone amp is designed to drive
any standard headphones to a very loud level. We’re
not kidding! It can cause permanent hearing damage.
Even intermediate levels may be painfully loud with
some headphones. BE CAREFUL! Always start with the
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17
Owner’s Manual
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TALKBACK Section
Auxiliary Section
The talkback feature allows the engineer to com-
municate with the talent either through the AUX 1-6
[87] Sends, or the MAIN L/R [82] outputs. Connect an
external microphone to the TALKBACK MIC XLR [81]
connector on the rear panel to use the talkback feature.
This section includes the AUX SEND MASTERS and
the STEREO RETURNS. These can be a bit confusing
to the uninitiated, so here’s the whole idea behind aux
sends and returns: sends are outputs and returns are
inputs. AUX SENDs tap signals off the channels, via the
AUX knobs [12/25], mix these signals together, then
send them out the AUX SEND jacks [87].
5ꢀ. TALKBACK ASSIGN Switches
These outputs are fed to the inputs of an external
processor like a reverb or digital delay. From there, the
mono or stereo outputs of the external device are fed
back to the mixer’s STEREO RETURN jacks [80]. These
signals are sent through the STEREO RETURN LEVEL
controls [64], and finally delivered to the MAIN MIX
bus.
These switches route the talkback signal to vari-
ous outputs, including AUX 1-2, AUX 3-4, AUX 5-6, and
MAIN MIX outputs. You might use a pair of Aux Sends
to communicate with musicians on-stage through their
monitors during a live performance. These could be
floor wedges or in-ear monitors.
By the way, it is okay to have more than one TB ASSIGN
switch pushed in at the same time. The talkback signal
will be routed to all the destinations you have selected.
But if you don’t have any of the assign switches pushed
in, the talkback signal won’t go anywhere, and you will
wonder why everyone seems to be ignoring you.
So, the original “dry” signals go from the channels to
the MAIN MIX and the affected “wet” signals go from the
STEREO RETURNS to the MAIN MIX, and once mixed
together, the dry and wet signals combine to create a
glorious sound!
The AUX SENDS can also be used to provide an-
other mix for stage monitors. In this case, the STEREO
RETURNS aren’t used to return the signal. Instead, they
can be used as additional stereo inputs.
5ꢁ. TALKBACK Level Control
Use this knob to control the level of the talkback
signal being routed to the AUX or MAIN L/R outputs.
Aux Send Masters Section
55. AUX SEND MASTERS
54. TALKBACK Switch
This is a latching switch, meaning it’s always active
when the switch is pushed in. As long as the switch is
engaged, the talkback signal is routed to the outputs
determined by the talkback assign switches [52]. Push
the switch again to release it, and the talkback circuit is
turned off. An LED above the switch indicates when the
TALKBACK switch is active.
The AUX SEND MASTERS provide overall control
over the AUX SEND levels, just before they are delivered
to the AUX SEND outputs [87]. These knobs go from off
(∞) to +15 dB when turned all the way up.
When using the Aux Send for monitors, this is usu-
ally the knob you turn up when the lead singer glares at
you, points at his stage monitor, and sticks his thumb up
in the air. (It would follow that if the singer stuck his
thumb down, you’d turn the knob down, but that never
happens.)
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This switch is used to select whether the Aux send
signal is pre-fader or post-fader.
When the PRE/POST switch is up, the Aux send
signal is pre-fader, which is usually used for sending to
monitors (stage monitor wedges or IEM, in-ear monitor
systems). This way, when changes are made to fader
levels in the front-of-house mix, it doesn’t affect the
monitor mix.
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When the PRE/POST switch is pushed in, the Aux
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18
ONYX 4•Bus
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you are using the Aux send to go to an effects processor.
This way, when fader changes are made, the “wet” signal
going to the effects processor moves up and down along
with the “dry” signal, maintaining a balance between
them.
60. TO MON/PHONES Switch
Press this switch to route the CD/TAPE signal to the
Monitor and Phones outputs when there are no solo
switches engaged. The Main Mix and CD/TAPE signal
is overridden in the Monitor and Phones outputs by any
PFL or AFL solo.
The pre-fader Aux Sends are post-EQ by default. How-
ever, an internal jumper is provided on each channel to
change the pre-fader Aux Sends to pre-EQ, if desired.
This requires some soldering skills, so contact Tech Sup-
port for information on how to access the pre/post-EQ
jumpers for the Aux Sends.
61. BREAK (TAPE TO MAIN)
Press this switch to route the CD/TAPE signal to
the Main outputs. This actually disconnects the Main
Mix signal from the Main outputs and replaces it with
the CD/TAPE signal. This allows you to easily start up
recorded music during a break without having to mute
or turn down the faders on all the channels.
57. AFL Solo Switch
The AFL switch allows you to hear the Aux Send sig-
nal through your headphones or monitor outputs. This
comes after the Aux Send GAIN control, so you can hear
the relative signal level on each Aux Send.
The patch point for the BREAK switch is prior to the
MAIN INSERTS, the COMPRESSOR (if selected), and
the MAIN MIX fader.
Remember, PFL solo mode always overrides AFL solo
mode. If you engage a PFL solo switch on a mono or
stereo channel, the AFL solo is disconnected from the
headphones and monitor outputs and replaced with the
PFL signal. The Rude Solo LEDS below the SOLO meters
indicate which solo mode is active.
6ꢀ. STEREO RETURNS AUX Sends
These tap a portion of the STEREO RETURNS signal
out to AUX 1-4. This allows you to send a processed
signal out to another processor if you want, or to add a
processed signal to a monitor mix, or to use the Stereo
Return as a stereo input and still be able to send the
signal to an external processor or stage monitor.
58. MUTE
Press this switch to mute the Aux Send output. When
the MUTE switch is pushed in on an Aux Send, you can
still solo the Aux Send.
FEEDBACK LOOP WARNING: It is
common to use an Aux Send to route
signals to an external processor, and
then return the signal from the pro-
cessor via the Stereo Returns. Since
5ꢂ. CD/TAPE Level Control
the Stereo Returns on the Onyx 4•Bus have Aux Sends
of their own, you could accidentally route the Stereo
Return signal to an Aux Send that is being returned via
that same Stereo Return. This will cause a feedback loop,
This knob controls the level of the signals connected
to the left and right TAPE IN jacks. The signal is then
sent to the MONITOR/PHONES output (when the TO
MON/PHONES switch [60] is pushed in) and the MAIN
characterized by
OUT (when the
BREAK switch
[61] is pushed
in). The CD/TAPE
level control pro-
vides 10 dB of ad-
ditional gain when
turned fully up.
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6ꢁ. SHIFT Switch
68. GROUP Fader
The Stereo Returns have two Aux Send controls.
When the SHIFT switch is up, they route the signal to
Aux 1 and Aux 2, and when the switch is down, they
route the signal to Aux 3 and Aux 4.
This fader controls the Group’s signal level, from off to
unity gain at the “U” marking, on up to 10 dB of addi-
tional gain.
6ꢂ. Signal Level LEDs
64. STEREO RETURNS LEVEL Control
These LEDs indicate the Group’s signal level after
the Fader, but before the MUTE switch. So if the Group
Fader is down, the Signal Level LEDs won’t light.
This controls the level of the Stereo Return signal
being sent to the Main Mix bus. It ranges from off to
+10 dB of additional gain when turn fully clockwise.
70. MAIN MIX Assign Switch
65. PFL Solo Switch
Push in this switch to send the Group signal to the left
and right MAIN OUTS. When the PAN control is centered,
the signal is sent equally to the left and right outputs.
Like the PFL switch on the stereo channels, this
switch allows you to hear signals through your head-
phones or monitor outputs without having to route them
to the Main Mix. Since this is Pre-Fader Listen, you can
listen to the Stereo Return signal even
when the Stereo Returns Level control is
turned down. The Stereo Returns PFL is a
stereo signal, and therefore retains its left
and right stereo image in the headphones
and monitors, and appears on both LEFT
The signal sent to the MAIN OUTS is after the Group
Insert, Fader, and MUTE switch.
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only when the MAIN MIX switch is en-
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With the PAN knob hard left, the signal
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the knob hard right, the signal feeds the
MAIN RIGHT output.
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Press this switch to mute the Group
output. When the MUTE switch is pushed
in on a Group, you can still solo the Group
signal (see AFL Solo Switch [71] ahead),
but it is muted at the Group output [85],
the Main output [82](when the MAIN
MIX assign switch is pushed in), and the
Matrix output [77].
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ONYX 4•Bus
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71. AFL Solo Switch
Rear Panel
The AFL switch allows you to hear the Group signal
through your headphones or monitor outputs. This
comes after the Group Fader and before the MUTE
switch, so you can hear the relative signal level on each
Group even when they are muted.
This is where all the connections are made to the
Onyx 4•Bus (except the headphones and lamps).
7ꢁ. MIC Input
This is a female XLR connector, which accepts a bal-
anced microphone input from almost any type of micro-
phone. The microphone preamps feature our new Onyx
design, with higher fidelity and headroom rivaling any
standalone mic preamp on the market today.
When you engage the AFL switch on two consecu-
tive odd/even Groups (i.e., 1 and 2, 3 and 4), the soloed
signal appears in stereo in the headphones and monitor
outputs. This is useful when you are using a pair of Group
Sends in stereo to feed an in-ear monitoring system.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Remember, PFL solo mode always overrides AFL solo
mode. If you engage a PFL solo switch on a mono or
stereo channel, the AFL solo is disconnected from the
headphones and monitor outputs and replaced with the
PFL signal. The Rude Solo LEDS below the SOLO meters
indicate which solo mode is active.
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
The MIC inputs can accept a balanced line-level input
when the PAD [1] switch on the channel strip is pushed
in (the input impedance is lower than the LINE input).
7ꢀ. MAIN MIX Fader
74. LINE Input
This is the master fader that control the levels at the
MAIN OUTS.
This is a 1/4" TRS connector, which accepts a balanced or
unbalanced line-level input signal from almost any source.
When MAIN TO MON [51] is selected in the PHONES/
MONITOR Section, the MAIN MIX fader also controls the
main mix level in the PHONES and MONITOR outputs
[46/78].
When connecting a balanced signal to the LINE inputs,
wire them as follows:
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
When the fader is fully down, the MAIN MIX is off.
The “U” marking indicates unity gain, and fully up pro-
vides 10 dB of additional gain. Typically, this fader is set
near the “U” label and left alone, but it can be used for
song fade-outs or quick system-wide mutes.
When connecting an unbalanced signal, wire them as
follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
7
6
5
4
3
2
1
12
11
10
9
8
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
CAUTION
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Here are three ways you use the INSERT jacks:
75. INSERT
These 1/4 TRS jacks provide a send and return point
"
for each channel. Use the INSERT jacks to connect
serial effects devices such as compressors, equalizers,
de-essers, or filters to each individual channel.
MONOPLUG
ChannelInsert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
The INSERT points are after the GAIN and Low Cut
controls, but before the EQ and Fader controls. The
send (tip) is low-impedance, capable of driving any
device. The return (ring) is high-impedance and can be
driven by almost any device.
MONOPLUG
ChannelInsert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
Special insert cables are available, specially designed
for this kind of insert jack. They are wired as follows:
SEND to processor
ring
“from tip”
STEREO
PLUG
(TRS plug)
tip
sleeve
ChannelInsert jack
this plug connects to one of the
mixer’s Channel Insert jacks.
Foruse asan effectsloop.
“to ring”
RETURN from processor
(TIP= SEND toeffect, RING= RETURN fromeffect)
Tip = Send (output to effects device)
Ring = Return ( input from effects device)
Sleeve = Common ground (connect shield to all
three sleeves)
76. DIRECT OUTS
Besides being used for inserting external devices,
these jacks can also be used as channel direct outputs;
post-GAIN, post-LOW CUT, and pre-EQ. This is an unbal-
anced direct out, in contrast to the DIRECT OUTS on
the rear panel, which are balanced direct outputs, post-
GAIN, post-INSERT, and pre-EQ.
Each of these DB-25 connectors provides balanced
direct outputs for eight channels. They are designed to
be connected directly to a recorder’s analog inputs, and
use the TASCAM standard pinout for analog signal con-
nections (the same standard used on the analog cards
for the Mackie D8B, DXB, and Hard Disk Recorder).
The signal at the DIRECT OUTS comes after the input
GAIN control, Low-Cut switch, and INSERT jack, but
before the EQ. This way you can EQ a channel and ad-
just the channel fader to suit your live mix, but it has no
effect on the signal going to the recorder. This provides
maximum flexibility for the mixdown stage.
STEREO RETURNS
MON OUT MTRX OUT
TAPE
OUT
31 LINE IN 29
LINE IN
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSE
LIN
28
27
26
25
24
23
22
21
32
30
IN
LEFT
L
A
L
L
(MONO)
L
L
MONO
MONO
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
2
R
R
RIGHT
R
R
R
B
IN
OUT
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/U
RIGHT
LEFT
TALK BACK
MIC
MAIN BALANCED OUTS
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MI
RIGHT
LEFT
MONO
MAIN
INSERTS
MAIN
OUTS
BAL/UNBAL
4
3
2
1
6
5
4
3
2
1
POWER
ON
GROUP
AUX
INSERTS
INSERTS
GROUP
AUX
OUTS
SENDS
BAL/UNBAL
BAL/UNBAL
ꢀꢀ
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Internal jumpers are provided to change the DIRECT
OUTS to post-EQ on a channel-by-channel basis, if
desired. This requires some soldering skills, so contact
Tech Support for information on how to access the
pre/post-EQ jumpers for the DIRECT OUTS.
80. STEREO RETURNS
These 1/4" TRS jacks accept balanced or unbalanced
line-level stereo signals from an external processor or
other line-level device. The STEREO RETURNS use a
technique called jack normalling. If a signal is plugged
into the LEFT (MONO) side and nothing is plugged into
the RIGHT side, the signal is automatically routed to both
LEFT and RIGHT sides. As soon as something is plugged
into the RIGHT side, the normalled connection is broken
and the LEFT and RIGHT inputs become stereo inputs
(LEFT goes to the LEFT MAIN OUT and RIGHT goes to the
RIGHT MAIN OUT).
See Appendix B for a wiring diagram of the DIRECT OUT
connectors.
77. MATRIX OUT
These 1/4 TRS jacks provide balanced line-level sig-
"
nals for the MATRIX A and B mixes. These can be con-
nected to the inputs of an amplifier, powered speaker,
headphone distribution amplifier, or recording device.
81. TALKBACK MIC
78. MON(ITOR) OUT
This is where you plug in your talkback microphone.
This female XLR connector does not have phantom power,
so use a dynamic microphone or a self-powered condenser
microphone.
These 1/4" TRS jacks provide a balanced line-level signal
that can be used to provide another main mix output (with
MAIN TO MON [51] selected in the PHONES/MONITOR
Section), or to monitor soloed channels.
8ꢀ. LEFT/RIGHT MAIN OUTS
Connect these outputs to the inputs of an amplifier,
powered speaker, headphone distribution amplifier, or
recording device.
There are two sets of outputs for the Left/Right Main
Outputs: Male XLR connectors that provide balanced
line-level signals and 1/4" TRS connectors that provide
balanced or unbalanced line-level signals. Each XLR
connector is in parallel with its corresponding 1/4" TRS
connector, and carries exactly the same signal.
7ꢂ. TAPE IN/OUT
Use the TAPE OUT jacks to capture the entire perfor-
mance to tape. The signal at these jacks is the main mix,
after the MAIN INSERTS [83], the MAIN MIX FADER [72],
and the COMPRESSOR [41].
This represents the end of the mixer chain, where
your fully mixed stereo signal enters the real world.
Connect these to the inputs of your main power ampli-
fiers, powered speakers, or serial effects processor (like
a graphic equalizer, or compressor/limiter if you are not
using the built-in stereo compressor on the main outs).
Use the TAPE IN jacks to connect the outputs from any
stereo line-level signal source, such as a tape player, CD
player, MP3 player, television audio, etc., to provide inter-
mission entertainment. Push in the BREAK switch [61] to
route the TAPE IN signal to the mains (and disconnect the
main mix signal from the MAIN OUT), and push in the TO
MON/PHONES switch [60] to route the TAPE IN signal to
the MONITOR and PHONES outputs.
NSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
16
15
14
13
7
6
5
4
3
2
1
17
12
11
10
9
8
L/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
DIRECT OUTS
POST GAIN / INSERT
-
9-16
1 8
CAUTION
(BALANCED)
(BALANCED)
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8ꢁ. MAIN INSERTS
88. AUX SEND INSERTS
These 1/4" TRS jacks are for connecting serial effects
such as compressors, equalizers, deessers, or filters.
The insert point is after the mix amps and BREAK [61]
switch, but before the MAIN MIX faders and the built-in
These 1/4" TRS jacks are for connecting serial effects
such as compressors, equalizers, deessers, or filters.
The insert point is after the mix amps, but before the
Aux Send Masters and the AFL Solo switch (so you can
compressor. Refer to the description of the channel insert hear the external processor when soloing the aux send).
on the previous page to see how to make this connection. Refer to the description of the channel insert on page 22
to see how to make this connection.
84. MONO OUT
8ꢂ. Power Receptacle
This male XLR output connector provides a balanced
line-level signal that is a combination of the left and right
This is a standard 3-prong IEC power connector. Con-
MAIN OUT signals (L+R). You can use this for a separate nect the detachable linecord (included in the box with
mix that doesn’t require a stereo feed, or to simply test
the monaural compatibility of your stereo mix.
your Onyx 4•Bus) to the power receptacle, and plug the
other end of the linecord into an AC outlet. The Onyx
4•Bus has a universal power supply that can accept
any AC voltage ranging from 100 VAC to 240 VAC. No
need for voltage select switches. It will work virtually
anywhere in the world. That’s why we call it a “Planet-
Earth” power supply! This also means that it is less
susceptible to voltage sags or spikes, providing greater
electromagnetic isolation and better protection against
AC line noise.
85. GROUP OUTS 1-4
These 1/4 TRS output connectors provide balanced
"
or unbalanced line-level signals for connecting to the
inputs of any line-level device.
86. GROUP SEND INSERTS
ꢂ0. POWER Switch
These 1/4 TRS jacks are for connecting serial effects
"
such as compressors, equalizers, deessers, or filters. The
insert point is after the mix amps, but before the Group
Send Masters (and before the built-in stereo compres-
sor). Refer to the description of the channel insert on
the previous page to see how to make this connection.
This one is self-explanatory. When the POWER switch
is turned ON, power is supplied to the Onyx 4•Bus and
the POWER LED on the front panel lights up.
Press the bottom of this switch to put the mixer into
standby mode. It will not function, but the circuits are still
live. To remove AC power, either turn off the AC mains sup-
ply, or unplug the power cord from the mixer and the AC
mains supply.
87. AUX SENDS 1-6
These 1/4 TRS output connectors provide balanced
"
or unbalanced line-level signals for connecting to the
inputs of effects devices or stage monitor amplifiers.
STEREO RETURNS
MON OUT MTRX OUT
TAPE
OUT
31 LINE IN 29
LINE IN
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSERT
LINE
INSE
LIN
28
27
26
25
24
23
22
21
32
30
IN
LEFT
L
A
L
L
(MONO)
L
L
MONO
MONO
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
1
2
R
R
RIGHT
R
R
R
B
IN
OUT
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/U
RIGHT
LEFT
TALK BACK
MIC
MAIN BALANCED OUTS
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MI
RIGHT
LEFT
MONO
MAIN
INSERTS
MAIN
OUTS
BAL/UNBAL
4
3
2
1
6
5
4
3
2
1
POWER
ON
GROUP
AUX
INSERTS
INSERTS
GROUP
AUX
OUTS
SENDS
BAL/UNBAL
BAL/UNBAL
ꢀ4
ONYX 4•Bus
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Appendix A: Service Information
If you think your Mackie product has a problem, please
check out the following troubleshooting tips and do
your best to confirm the problem. Visit the Support sec-
you will find lots of useful information such as FAQs and
other documentation. You may find the answer to the
problem without having to send your Mackie product
away.
•
Is there something plugged into the CHANNEL
INSERT jack [75]? Try unplugging any INSERT
devices.
•
Try the same source signal in another channel, set
up exactly like the suspect channel.
Bad Output
•
•
Is the associated level control (if any) turned up?
If it’s one of the MAIN OUTPUTS, try unplugging all
Troubleshooting
the others. For example, if it’s the 1/4 LEFT MAIN
"
OUT, unplug the XLR LEFT OUTPUT. If the problem
goes away, it’s not the mixer.
No Power
•
•
Our favorite question: Is it plugged in?
•
If it’s a stereo pair, try switching them around. For
example, if a left output is presumed dead, switch
the left and right cords at the mixer end. If the
problem stays on the left side, it’s not the mixer.
Make sure the power cord is securely seated in the
IEC socket [89] and plugged all the way into the
AC outlet.
Bad Sound
•
•
Make sure the AC outlet is live (check with a tester
or lamp).
•
Is the input connector plugged completely into the
jack?
Is the POWER [90] switch on? Make sure the
POWER switch on the rear panel is in the ON posi-
tion (up).
•
Is it loud and distorted? Make sure the input GAIN
control for the input is set correctly. Reduce the
signal level on the input source if possible.
•
•
•
Is the POWER LED [44] on the front panel illumi-
nated? If not, make sure the AC outlet is live.
•
If possible, listen to the signal with headphones
plugged into the input source device. If it sounds
bad there, it’s not the Onyx 4•Bus causing the prob-
lem.
Are all the lights out in your building? If so, contact
your local power company to get power restored.
If the POWER LED is not illuminated, and you are
certain that the AC outlet is live, it will be necessary
to have your Onyx 4•Bus serviced. There are no user
serviceable parts inside. Refer to “Repair” at the end
of this section to find out how to proceed.
Noise/Hum
•
•
•
Turn down the STEREO RETURN LEVEL controls
[64]. If the noise disappears, it’s coming from what-
ever is plugged into the STEREO RETURNS [80].
Bad Channel
Turn down each channel, one by one. If the noise
disappears, it’s coming from whatever is plugged
into that channel.
•
•
Is the MUTE button [14/27] pushed in?
Is the input GAIN control [4/19] for the channel
turned up?
Check the signal cables between the input sources
and the Onyx. Disconnect them one by one. When
the noise goes away, you’ll know which input source
is causing the problem.
•
•
Is the fader [15/28] turned up?
Is the signal source turned up? Make sure the
signal level from the selected input source is
high enough to light up some of the INPUT meter
[16/29] LEDs next to the channel’s fader.
•
Sometimes it helps to plug all the audio equipment
into the same AC circuit so they share a common
ground.
•
Is the channel assigned to a bus (GROUP ASSIGN
or MAIN MIX button pushed in)?
ꢀ5
Owner’s Manual
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Repair
For warranty service, refer to the warranty informa-
tion on page 35.
Non-warranty service for Mackie products is avail-
able at a factory-authorized service center. To locate
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Mon-
day-Friday, during normal business hours, Pacific Time,
to explain the problem. Tech Support will tell you where
the nearest factory-authorized service center is located
in your area.
Need Help?
You can reach a technical support representative
Monday through Friday
during normal business hours, PST at:
1-800-8ꢂ8-ꢁꢀ11
or email us at: [email protected]
ꢀ6
ONYX 4•Bus
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Appendix B: Connections
XLR Connectors
1/4" TS Phone Plugs and Jacks
The mono channels use 3-pin female XLR connectors
on the MIC inputs. They are wired as follows, according
to standards specified by the AES (Audio Engineering
Society).
“TS” stands for Tip-Sleeve, the two connection points
available on a mono 1/4 phone jack or plug. They are
used for unbalanced signals.
"
SLEEVE
SLEEVE
TIP
2
SHIELD
HOT
TIP
TIP
1
3
COLD
SLEEVE
SHIELD
1
1/4 TS Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
"
3
COLD
2
HOT
SHIELD
COLD
HOT
1
3
2
XLR Balanced Wiring:
Pin 1 = Shield
Pin 2 = Hot (+)
Pin 3 = Cold (–)
RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and jacks
are often used in home stereo and video equipment and
in many other applications. They are unbalanced and
electrically equivalent to a 1/4 TS phone plug.
"
1/4" TRS Phone Plugs and Jacks
TIP
SLEEVE TIP SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three connection
points available on a stereo 1/4 or balanced phone
"
jack or plug. TRS jacks and plugs are used for balanced
signals and stereo headphones:
RCA Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
Balanced Mono
RING SLEEVE
TIP
SLEEVE RING TIP
Unbalancing a Line
RING
TIP
In most studio, stage, and sound reinforcement situ-
ations, there is a combination of balanced and unbal-
anced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
SLEEVE
1/4 TRS Balanced Mono Wiring:
"
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
•
When connecting a balanced output to an unbal-
anced input, be sure the signal high (hot) connec-
tions are wired to each other, and that the balanced
signal low (cold) goes to the ground (earth)
Stereo Headphones
RING SLEEVE
TIP
SLEEVE RING TIP
connection at the unbalanced input. In most cases,
the balanced ground (earth) will also be connected
to the ground (earth) at the unbalanced input. If
there are ground-loop problems, this connection
may be left disconnected at the balanced end.
RING
TIP
SLEEVE
1/4 TRS Stereo Unbalanced Wiring:
"
Sleeve = Shield
Tip = Left
Ring = Right
ꢀ7
Owner’s Manual
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•
When connecting an unbalanced output to a bal-
anced input, be sure that the signal high (hot)
connections are wired to each other. The unbal-
anced ground (earth) connection should be wired
to the low (cold) and the ground (earth) connec-
tions of the balanced input. If there are ground-loop
problems, try disconnecting the unbalanced ground
(earth) connection from the balanced input ground
(earth) connection, leaving the unbalanced ground
connected to the balanced input low (cold) con-
nection only.
This allows you to tap out the channel’s signal at that
point in the circuit without interrupting normal operation.
Note: Do not overload or short-circuit
the signal you are tapping from the
mixer. That will affect the internal
signal.
If you push the 1/4 TS plug in to the second click,
"
you will open the jack switch and create a direct out,
which does interrupt the signal in that channel.
In some cases, you may have to make up special
adapters to interconnect your equipment. For example,
you may need a balanced XLR female connected to an
MONOPLUG
unbalanced 1/4
"
TS phone plug. Many common adapters
ChannelInsert jack
can be found at your local electronics supply store.
Direct out with no signal interruption to master.
Insert only to first “click.”
The balanced-to-unbalanced connection has been
anticipated in the wiring of Mackie jacks. A 1/4
inserted into a 1/4 TRS balanced input, for example,
will automatically unbalance the input and make all the
right connections. Conversely, a 1/4 TRS plug inserted
into a 1/4 unbalanced input will not necessarily tie the
"
TS plug
"
MONOPLUG
ChannelInsert jack
"
"
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
ring (low or cold) to ground (earth).
TRS Send/Receive Insert Jacks
STEREO
PLUG
ChannelInsert jack
Mackie’s single-jack inserts are three-conductor 1/4
TRS phone jacks. They are unbalanced, but have both
the mixer output (send) and mixer input (return)
signals in one connector.
"
Foruse asan effectsloop.
(TIP= SEND toeffect, RING= RETURN fromeffect)
The sleeve is the common ground (earth) for both
Mults and “Y”s
signals. The send from the mixer to the external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel wir-
ing connections. You can make “Y”s and mults for the
outputs of both unbalanced and balanced circuits.
SEND to processor
ring
“from tip”
(TRS plug)
tip
sleeve
Remember: Only mult or “Y” an out-
put into several inputs. If you need
to combine several outputs into one
input, you must use a mixer, not a
mult or a “Y.”
this plug connects to one of the
mixer’s Channel Insert jacks.
“to ring”
RETURN from processor
Using the Send Only on an Insert Jack
If you insert a 1/4 TS (mono) plug only partially (to
"
the first click) into a Mackie insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
Y-Cord Splitter
ꢀ8
ONYX 4•Bus
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DB25 Connectors
The DIRECT OUTS on the back of the Onyx 4•Bus
provide balanced direct outputs for all the mono chan-
nels on female DB25 connectors. These connectors are
pin-for-pin compatible with the analog (not TDIF) DB25
connectors found on TASCAM DTRS recorders, which has
become an industry standard for many professional audio
manufacturers. They are also the same pinout as the ana-
log cards for the Mackie D8B and hard disk recorders.
0IN ꢀ
0IN ꢃ
0IN ꢄ
0IN ꢆ
0IN ꢈ
0IN ꢇ
0IN ꢅ
0IN ꢂ
0IN ꢉ
0IN ꢀꢊ
ꢁ
#H ꢂ
#H ꢂ
#H ꢅ
#H ꢇ
#H ꢇ
#H ꢈ
#H ꢆ
#H ꢆ
#H ꢄ
#H ꢃ
#H ꢃ
#H ꢀ
0IN ꢀꢆ
0IN ꢀꢈ
0IN ꢀꢇ SHIELD
0IN ꢀꢅ
0IN ꢀꢂ
0IN ꢀꢉ SHIELD
0IN ꢃꢊ
0IN ꢃꢀ
0IN ꢃꢃ SHIELD
0IN ꢃꢄ
0IN ꢃꢆ
0IN ꢃꢈ SHIELD
n
ꢁ
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#H ꢅ
#H ꢇ
#H ꢈ
#H ꢈ
#H ꢆ
#H ꢄ
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#H ꢃ
#H ꢀ
#H ꢀ
SHIELD
n
ꢁ
SHIELD
n
ꢁ
SHIELD
n
ꢁ
n
ꢁ
n
ꢁ
n
ꢁ
0IN ꢀꢀ SHIELD
0IN ꢀꢃ
0IN ꢀꢄ .ꢋ#
n
#( ꢀ #( ꢃ #( ꢄ #( ꢆ #( ꢈ #( ꢇ #( ꢅ #( ꢂ
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Several companies make DB25-to-DB25 cables specifi-
cally for audio, with proper shielding to reduce crosstalk
and noise.
DB25 cables that break out to XLR, 1/4" TRS, or TT
connectors for connecting to other mixers or audio gear
are also readily available. See your Mackie dealer for
details.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
ꢀꢂ
Owner’s Manual
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Appendix C: Technical Info
Onyx 4•Bus Specifications
Frequency Response
Mixer Rated Output
Mic Input to Main Output (Gain @ Unity)
+0, –1 dB, <10 Hz to 80 kHz
Main Outs:
Aux Send:
Group Send:
Monitor Out:
Matrix Out:
+4 dBu
+4 dBu
+4 dBu
+4 dBu
+4 dBu
+0, –3 dB, <10 Hz to 120 kHz
Distortion (THD & IMD)
Maximum Rated Output:
+21 dBu @ Main XLR and TRS outputs
Mic Input to Main Output (@ +4 dBu)
THD: < 0.007% 20 Hz to 20 kHz
0.003% @ 1kHz typical
Maximum Input Levels
SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)
Mic Input:
Mic Input:
Line Input:
Tape Input:
Stereo Return:
+21 dBu, Gain @ unity, pad out
Dynamic Range
+30 dBu, Gain @ unity, pad in
+21 dBu, Gain @ –20 dB
+30 dBu
>115 dB, Mic In to Main Out
+21 dBu
Noise Floor
Signal-to-Noise Ratio:
Maximum Voltage Gain
Mic Input to:
Main Out:
–87 dBu (ref. +4 dBu, Mic In to Main Out,
32 channels and Main Mix levels at unity)
90 dB
80 dB
86 dB
103 dB
105 dB
103 dB
–89 dBu, (ref. +4 dBu, Mic In to Main Out,
24 channels and Main Mix levels at unity)
Group Out:
Aux Sends:
Monitor Out:
Matrix Out:
Phones Out:
Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz Bandwidth,
150Ω source impedance
–129.5 dBu @ +60 dB gain
Mic Output Noise:
Line Input to:
Main Out:
Direct Output: –100 dBu (minimum gain)
70 dB
60 dB
66 dB
83 dB
85 dB
83 dB
Group Out:
Aux Sends:
Monitor Out:
Matrix Out:
Phones Out:
Residual Output Noise:
Main Out: –100 dBu (Channel and Main Mix levels off)
Main Out:
32•4: –83 dBu (32 channels and Main Mix
levels at unity)
24•4: –85 dBu (24 channels and Main Mix
levels at unity)
Stereo Return to:
Main Out:
53 dB
43 dB
49 dB
66 dB
68 dB
66 dB
Group Out:
Common Mode Rejection Ratio (CMRR)
Mic In: >70 dB @ 1 kHz, Gain @ maximum
Aux Sends:
Monitor Out:
Matrix Out:
Phones Out:
Crosstalk
Adjacent Inputs: < –95 dB @ 1 kHz
Input to Output: < –85 dB @ 1 kHz
Input Impedance
Mic Input:
3 kΩ, balanced
Input Gain Control Range
Mic In: 0 dB to +60 dB
Line In: –20 dB to + 40 dB, mono channels
Mono Channel Line Input: 34 kΩ balanced
Stereo Returns:
Talkback Mic:
20 kΩ balanced
1 kΩ balanced
Output Impedance
Main Out:
Phantom Power
100 Ω balanced, XLR outputs;
+48 VDC
300 Ω TRS outputs
300 Ω
300 Ω
300 Ω
300 Ω
Direct Out:
Group Out:
Monitor Out:
Matrix Out:
Aux Sends:
Phones Out:
Equalization
Mono Channel EQ:
High:
15 dB @ 12 kHz
High Mid: 15 dB, sweepable from 400 Hz to 8 kHz
Low Mid: 15 dB, sweepable from 100 Hz to 2 kHz
Low:
300 Ω
25 Ω
15 dB @ 80 Hz
Stereo Channel (Aux Input) EQ:
High:
15 dB @ 12 kHz
High Mid: 15 dB @ 2.5 kHz
Low Mid: 15 dB @ 400 Hz
Low:
15 dB @ 80 Hz
ꢁ0
ONYX 4•Bus
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Channel Level LED (Sensitivity)
Physical Dimensions and Weight
0 LED = 0 dBu (normal operating level)
Onyx 24•4
Height:
Width:
Depth:
Weight:
7.3 in/185 mm
31.2 in/792 mm
21.9 in/555 mm
39.5 lb/17.9 kg
VU Meters
Main Left and Right, Compressor Input, 12 segments:
Clip (+20), +15, +10, +6, +3, 0, –2, –4, –7, –10, –20, –30
0 LED = 0 dBu
Compressor Gain Reduction, 12 segments:
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 15 dB
Onyx 32•4
Height:
Width:
Depth:
Weight:
7.3 in/185 mm
39.8 in/1011 mm
21.9 in/555 mm
48.0 lb/21.8 kg
AC Power Requirements
Power Consumption:
Onyx 24•4
Onyx 32•4
100 watts
120 watts
LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
Universal AC Power Supply:
100 VAC – 240 VAC, 50-60 Hz
“Mackie.”, “Onyx,” and the “Running Man” are registered
trademarks of LOUD Technologies Inc. All other brand names
mentioned are trademarks or registered trademarks of their
respective holders, and are hereby acknowledged.
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
Onyx 4•Bus Dimensions
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Owner’s Manual
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Mackie Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-
free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
ꢁ5
Owner’s Manual
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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